Ways Of Working

To smooth paper, however, is that large areas of tone may seem somewhat flat. A textured paper is just the reverse used in conjunction with charcoal or chalks, it gives a lively, broken characteristic to lines or areas of tone. Take note of the weight of the paper too so that if you use watercolours, for example, the paper will be heavy enough not to buckle. The point at which a drawing ceases to be a drawing and becomes a painting is both a philosophical issue and a practical one. You can draw...

Krl

Tihe need to depict a person's individual characteristics sets portrait drawing apart from figure drawing. The best approach to take when you draw a portrait is to study the construction and form of the head, noting the proportions of particular features in relation to the size of the face. You may like to experiment with the lighting to create an atmosphere or reflect the mood of the sitter and such unusual effects may help you to look at your subject in a fresh way. If you need to gain...

Info

6B graphite stick encased in plastic Graphite pencils range in texture from a hard 8H through to a soft 8B, with HB halfway between the two. Practically, you will achieve good results with a small selection such as 2B, 4B, 6B and 8B. Another option is a water-soluble pencil that gives rich, black marks and can be diluted with water to a transparent wash. 6B graphite stick encased in plastic Graphite is also available in sticks that can be fixed in a holder or sold wrapped in a thin film of...

Getting Started

The viewpoint you choose significantly affects the look of a drawing. A high viewpoint allows you to look down on a scene which can often create a sense of space and harmony. A normal viewpoint -the eye level of an individual standing upright - creates a familiar sense of human perspective. Distant features may be obscured by areas of foreground. Linear perspective is a theory based on how we perceive an object or a scene from a particular viewpoint. The building above recedes in space and...

Figures In A Setting

Human Body Positions Drawing

Represent the way the light defines the form of this figure with dark transparent washes for shadows and white gouache for the highlights. White gouache is essential for describing strong light and pale colours if you are working on toned paper. Redefine details such as the hat with a pencil. These subtle lines will give a better sense of form and shape and help to push the figure further into the foreground. The strong sense of perspective gives the impression of a large area of space between...

An Introduction

Drawing well is all about how you perceive the world around you and interpret it into your own personaI vision. As adults we see the world in a very different way to that of children. The stumbling block for many of us is that with a more mature perspective we have a much greater sense of what we think is correct and what is incorrect (although this is often widely misunderstood) and this can often create inhibitions. There is, however, nothing intrinsically mysterious about the mechanics of...

The Basics Of Drawing

Watercolor Pictures Power Lines Poles

Concentrate on drawing the ellipses correctly rather than addina fine Practise drawing a range of objects so that you learn to describe a variety of ellipses of different depths and widt-s To recreate the roundness of an object you need to imagine two ellipses, one horizontal, one vertical. The teapot, for example, is made up of a flattened circle for its basic form and then intersected at right angles by a second ellipse. The problem with drawing an object such as this teapot is its opaque...

Dorling Kindersley Book

Project editor Susannah Steel Art editor Heather McCarry Designer Dawn Terrey Assistant editor Margaret Chang Series editor Emma Foa DTP designer Zirrinia Austin Managing editor Sean Moore Managing art editor Toni Kay Production controller Helen Creeke Photography Steve Gorton, Andy Crawford, and Tim Ridley This DK. Art School Art book firs published ill Great Britain in 1994 by Dorling Kindersley Limited, 9 I lenrietta Street, London WC2E 8PS All rights reserved. No pari of this publication...

Drawing For P

44 Transfer al. the tracings c. to paper, either c heavily shading th opposite side of r tracing paper ar. drawing the rr.ig again, or by usir.g carbon paper 14 Begin by copying the basic outlines of the interior study on to tracing paper with a soft pencil, keeping the sketch simple and well-defined. Secure the tracing paper down with masking tape to prevent it moving. 3 > Position the trace of the standing figure over the original interior watercolour study, moving it around until a...

Gallery Of Figures

Aircraft Design Drawing Basics

Diana Armfield, RA, Studying the Menu at Fortnum's, London, 44x 27cm (17'Ax 10'A in) In this pastel drawing the artist has cleverly arranged her composition so that the focus of attention is actually on the group of figures in the middle distance, in spite of the spacious foreground. The lack of finished detail in the foreground helps to lead the eye straight to the tables of seated customers, who appear more dominant than they really are. Although these figures are relatively small, their...

Buildings Architecture

You can easily simplify the buildings you draw if there are too many extraneous details, or omit unsightly objects such as parked cars. Such details can look too prominent and may compete unnecessarily with the architectural design. Tihe great advantage of drawing buildings is that they are permanent and stationary, so you can take your time to study the subject. Perspective is one of the most important elements to grasp if you want to draw a convincing architectural study how an object with...

Keeping Your Work Clean

Pastels and chalks generate a fine powder as you work with them, so use a sheet of paper to lean your hand on as you draw. This technique is also useful with lead pencils. either pale or strong in tone, have been used for areas in sunlight. Pastel marks have been left unblended so that the drawing has a sharp clarity. This drawing is built up of colour contrasts - with bright, vibrant pastels describing the scene outdoors and darker, more subdued hues evoking the shady interior. This pattern of...

Materials For Drawing

Portrait Drawing Materials

To draw a portrait successfully, you need to be able to produce a solid, lifelike image of a head with recognizable features that identify the sitter. Work out the symmetry of the face by dividing it roughly into three equal parts. The top section is from the crown to the brow the central section is from the brow to the end of the nose and the bottom section is from the end of the nose to the bottom of the chin. Draw the eyes approximately one-eye's width apart and measure the triangle made by...

Brief History

Bistre Medium Art

The history of drawing may be as old as the human race itself. Cave paintings have been discovered dating back as far as 10,000 years bc, so it seems that man has always been interested in making images. However it was during the Italian Renaissance that artists developed profound drawing skills and the art of drawing underpinned all other artistic disciplines. One reason why drawing was at such a high standard during this period was that it related directly to the great profession of painting...

Gallery Of Drawing Media

Jane Stanton Boxing Pastels

Of intense black shading and lightly drawn linear marks creates a strong sense of movement. of intense black shading and lightly drawn linear marks creates a strong sense of movement. John Ward RA, Siena, 33 x 56 cm 13 x 22 in In this picture the artist has caught the dazzlingly bright light that shines on a bustling market square with a clever combination of watercolour and pencil. Rich, deep washes of watercolour have been drawn in shaded areas to heighten the contrast with the stark white...

G L O

Hue Describes the actual colour of an object or substance as it would appear on the colour wheel. Lifting out Modifying colour and creating highlights by taking colour off the paper using an eraser or sponge. Linear perspective The method of representing a three-dimensional object on a two-dimensional surface. Linear perspective makes objects appear smaller as they get farther away by means of a geometric system of measurement. Modelling Describing the form of a solid object using solid shading...

Gallery Of Form

Donald Hamilton Fraser Dancer

43x51 cm 17x20 in Rock formations, with their stark, craggy shapes and dramatic shadows, are a wonderful subject for studying form. The depth and drama of this drawing relies upon a bright light that picks out the eroding coastline as a series of unusual and abstract images. Deep shadows help to build up a strong tonal pattern that combines with the highlights to give a three-dimensional form with a striking presence. upper body suggest shadows and create a realistic sense of shape and depth. A...

Linear Drawing

Musical Guitar Still Life Drawing

Ink applied with a pen is a popular drawing medium. The ink comes in a range of colours just as the steel nibs come in a variety of thicknesses. It is best to use smooth cartridge paper so that the nib does not become stuck in the fibres. 1 gt If you are unsure of drawing directly in pen and ink, start off with a light pencil sketch. This will allow you to make sure your proportions are correct and that you are happy with the composition. It will also train you to be observant. This simple...

Tonal Drawing

Animal Sketch Renaissance

3 gt Put in a light grey tone by using gentle sweeping strokes with the side of the pencil. Once this is established you can deepen the tone for shadows and erase it for highlights. Explore the shapes shadows make between the objects darkening the shadows will push the objects forwards and make them look less flat. Develop the gradated tones on the objects, from the lightest to the darkest, to give them volume. 4-a. Now bring out the soft highlights on the jug by lifting out some of the tonal...

Gallery Of Composition

Pencil Sketches Beach Scenes

Jane Stanton, Behind the Scoreboard, 25 x 36 cm 10 x 14 in This drawing is one of a series the artist made while sitting behind a cricket scoreboard. Although our attention is immediately drawn to the two seated figures, the artist is also fascinated by the shapes within the room - the intersecting lines of the walls, the repeated image of the doors, and the overhanging cupboards. By placing the figures at an angle, she intensifies our interest and heightens the sense of drama in the scene....